American Cinematographer - September 2000 - 127

David Sproxton and Nick Park.
Technical advances, particu¬

larly in digital techniques, datastor¬
age and high-definition capabilities,
are unremitting, and the postpro¬
duction houses centered in Soho,

London,

are

constantly updating

their facilities. Visual-effects work for

Gladiator

by Mill Film, postproduc¬
by de Lane Lea,
and visual effects for Deep Blue Sea
and Saving Grace by The Film
Factory are indicative of the constant
work flow in the area. Many of the
post houses, such as Computer Film
Company, VTR and Framestore, are
linked within London through the
broadband fiber-optic Sohonet. For
tion

on

Chicken Run

Gladiator, Mill Film made constant
use

of Warn!Net for

America

approvals in

(see AC May '00), and the

company uses the system to interact
with U.S. agencies on a daily basis.

International

carefully evaluated by other companies interested in transferring work

links such

back and forth

high-speed broadband
as Warn!Net are being

We

are

to

production centers, particularly
between America and the U.K.
■

the world's film

proud to have been instrumental in the making of...

&> (-37 ('

MILLS STUDIOS

Lock Stock

Topsy Turvy

Academy & BAFTA Award Winners

film

tv

media

complex

3 Mills Studios, London

t

+44 CO) 20 73B3 333B

e

info@3mills.com

f

+44 (Q] 20 8215 3499

w

www.3mills.com



American Cinematographer - September 2000

Table of Contents for the Digital Edition of American Cinematographer - September 2000

American Cinematographer - September 2000 - 1
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